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Track(s) taken from CDA67967



Piers Lane (piano)
Studio Master FLAC & ALAC downloads available
Studio Master:
Studio Master:
Recording details: June 2012
Potton Hall, Dunwich, Suffolk, United Kingdom
Produced by Rachel Smith
Engineered by Ben Connellan
Release date: September 2013
Total duration: 2 minutes 58 seconds

Cover artwork: Portrait of Piers Lane by John Beard (b1943)


'This superbly recorded disc (played on a gorgeously voiced Steinway) is Lane's love letter to the piano. I wish more pianists would share their guilty pleasures like this' (Gramophone)

'Lane in wonderful, debonair mode here, sparkling through a personal encore selection from Jamaican Rumba to a Toccata by his own father, and from Myra Hess to Dudley Moore' (BBC Music Magazine)

'Puts smiles on our faces and tears in our eyes … Katharine Parker's Down Longford Way grows from an Ivor Novello-like charm into an opulently Romantic piece of striking contrast and colour, indeed the perfect choice with which to launch the disc. The playing throughout is first-class: witty where it needs to be, reflective and joyous elsewhere … Lane is a dynamic, insightful pianist who is able to bring a new perspective to the repertoire. His renditions of the Grainger and Bach / Hess pieces are quite beautiful, and in Mayerl's Marigold I can hardly imagine a more heartfelt account' (International Record Review)

'Piers Lane, one of the most versatile pianists around, presents many sides of himself in a selection of pieces that may seem topsy-turvy, incongruous even, but there are some wonderful and brilliant things here to be re-united with or discovered, and each piece is superbly played, with complete identification, and beautifully recorded too—just like a piano should sound, with all of Lane’s colours, dynamics and inflections faithfully relayed' (Classical Source)
Billy Mayerl (1902–1959) was a great favourite in the Lane household when I was growing up in Brisbane. My father used to entertain us with Marigold (1927) or Song of the Fir Tree or Autumn Crocus, and the gentle syncopations and attractive tunes proved irresistible. Marigold became Mayerl’s signature tune. He indicates it should be played slowly and lightly, but his own performances of it were often breathtakingly fast.

Mayerl was a natural. Born in Tottenham Court Road, right by London’s West End theatre land, he won a scholarship to study at Trinity College of Music while still a young boy, and soon after performed Grieg’s Piano Concerto at the Queen’s Hall. As a young teenager he played in dance bands and accompanied silent films, and a little later was the pianist in the prestigious Savoy Havana Band. His recordings and broadcasts brought him renown and in 1925 he gave the British premiere of Gershwin’s Rhapsody in Blue, his ‘lightning fingers’ filmed by slow-motion camera. He wrote for revues all over the country and composed musicals for which he formed a twenty-six piece orchestra. In 1926, with great enterprise, he went into business and started a ‘Correspondence Course in Modern Syncopation’, which proved popular and became a worldwide affair with more than 30,000 subscribers. The war interrupted proceedings and momentum was never fully regained. It finally closed in 1957, two years before Mayerl’s premature death. Like Dame Myra Hess, he did his bit for the war effort. He led his own band in a radio programme, Music while you work, designed to support wartime factory workers; its enduring popularity ensured its continuance for a further twenty years. Mayerl’s prolific and delightful, if somewhat eccentric, output demands a proper revival.

from notes by Piers Lane © 2013

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